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primary pigments
A repeating cadence rang in his ears : Do, Re, Me, Fa, Sol, La, Ti, Do. Larz slipped back through time to grade school music class. That was when he first fell in love with the voice octave scale, as he called it. The memories were spurred by the note Initial Impetus which he had recently written. The scale was a complete circle of sound that he could quietly hum when around others. When alone, it manifest as whistling that ran up and down various scales. Over time, an array of whistling modes were developed. The Do was the alpha and the omega that defined the parameters of an octave. The other six were responsible for the character of the octave. He would visualize how the notes were constructed and how they moved. The tones would alter from set to set and be repeated as warranted. Apparently, some voice people used the sequence for tuning up. That was about all he sought to know about that. The concept was mostly a personal muse that he didn't mention to anyone. He was too self conscious about the strange attraction. Such simple, idle ideas were of no interest to those he knew. So, he continued to quietly reflect upon the dichotomy of his experiences.
While he was drifting through those times, Larz found himself in an echo chamber of sorts. It was a reflective place that set the natural binary as together yet separate. The image below represented the female version of of the solfeggio voice octave. It was a curved version mirror image of the jagged male solfeggio scale. Put side by side, the left orientation of the male side countered the right orientation of the female version. They faced each other in the making of a circle. That was where male facts and analytics melded with female feelings and instincts. The poem, if you will, began starkly as He Her. There was ample space found between the juxtaposed octaves. It was into that void that he traveled. Larz once again volunteered his psyche to a mental process. Logic dictated that an external impetus must be satisfactorily investigated. The emotion flood gates were allowed to open. For years, even decades at a time, certain surreal memories were tamped down. He supposed that it was a self preservation move to maintain composure in the world. The subconscious was an effective insulator within the human electromagnetic psyche. She was lost when he was 11. She left the material world at 7 years of age. Forever would he hold her hand. Their tight bond extended into the etheric realm. He could feel her hand at the rare moments when his palms went clammy. Surrender he did, it was a process to validate her current influence. The exercise rolled out a new dimension of the experience. It encapsulated an essence of life that buffered his worldly ambivalence.
Assembly
An innate form factor was employed by Larz that he didn't realize until later. The placement of the phrases must have been seared into his meta consciousness. When his favorite nDNA model was put on top, it looked like it was planned. The free form thought process he used started from the outer perimeter. Internal constituents lined up inside the space as they logically presented themselves. The constructs were generally built through the maintenance of up, down, left and right space. There was no intent to have the words match the nDNA music scale. To his comfort, the written reflection mirrored the silent song of life. The new rendition of the construct was the female version that was soft, emotional and reassuring. In contrast, the male version had cold hard facts, angular lines and logical outcomes. It was gratifying that the two opposites had attracted. They materialized similar to the natural processes in nature. The components of a human experience had emerged. Eventually, Larz withdrew from the exercise as worldly concerns interrupted the transmission.
During his next day dream the Do - Do scale still lingered in his mind. He sought to reconcile the modern version of the scale with the ancient version . That being, Ut Re Mi Fa Sol La Ut. The original construct had a Latin based story behind it. Folk lore of that period spoke of its healing power. The frequency combinations of the human voice were thought to be transformative. The first adulteration was the addition of Si, a symbol of earthly authority. Such things were not mentioned during instruction at the high school level. Larz loved music but saw indoctrination. And he knew in his heart they offered prescribed music formulations only. It took years and openness to the universe to reconfigure his perception. In the course of his studies the old, original style had found him. He grappled with the questions of how and why the bastardization had been perpetrated. The binary components within the solfeggio scale had launched him into a world of fundamentals.
Larz sought to understand the dynamics behind the deception. As was often the case, both secular and not secular camps weighed in. The humanistic side looked for astrologic reasoning and modes of self fulfillment. The Believers were skeptical as they followed the current authority. The first group sought unattainable healing through a false materialistic channel. The second group was spiritually unaware of the true healing channels that they had inherited. Each group desired the same thing but neither was able to overcome the bias that blinded them. He wondered if blood, sweat and tears were the primary pigments.
Larz knew that he needed to transition from a holding pattern. Separate, in order to advance the project. So he sent three documents to his friend. He figured she would help with perspective.
Shirley: I remember the two fireflies. We saw them after you wrote the poem about the sister of your friend. She was the one who could only catch fireflies in her mind.
Larz: You remember well. One appeared and moments later the other lit up .Like the pause in time between their passing. I was so excited because they are not common to see in coastal New England..
Shirley: Have to be in the right place at right time. I had kind of wondered if they were a myth. They came and left so quickly. So, you can add phosphorescence to your pigment list, by the way.
Larz: Very clever, you sure are reliable. What do you make of the second chapter?
Shirley: Your premise of a macro first chapter and a micro second is plausible. The overview is then expounded upon in some detail.
Larz: I agree, seems that all was created in the first chapter and set in motion. The second reveals an underlying re creative triad of 3 6 9. It operates within the sanctified 7th day dimension.
Shirley: Would we, then, be living in the 8 th day? Some detail is given as to how the octave is constructed. Open space is designed for the exercise of freewill.
Larz: Good point. Consequence is the initial antagonist of the binary opposites of man and woman. Perhaps that is where our internal duality dwells. Within a spiritual 7 suspended animation we live out the physical experience 9 through regenerative 8.
Action and reaction
Larz had noticed a dimensional progression along the path of the natural numbers. It was as if the structures were maturing along innate, programmed paths. When Shirley asked about an eighth day he reconnected with the spirit of his work. Accumulation was a trait of 7, 8 and 9 as they were processors of the creative 6. The 7th day had two phased 369 internal circuit engines that powered the meta physical liquid. The 8 was a renewable construct relationship of liquid and solid within a neutral center. The nDNA was synonymous with our realm of aggregate 9.
He really liked to create names like Triune Stream that reflected what popped into his brain. Two circles and two lines were seen dancing in the fluid plasma. Larz had not chosen to swim alone.
Systems analysis was like breathing to Larz. He studied how trained scientists and theologians broke down topics into categories and orders. He considered their professional take to gain a balanced consensus. He was much more inclined to digest the empirical studies of worldly science. The interpretive works based upon the Book of the Believers seemed too much like static interference. With a cleared mind, Larz chose to follow the logical timeline that the second chapter of Genesis presented. He perceived of systems that operated within the construct. There was a risk of unwittingly producing facsimiles of others work. That was okay as long as increased validation would be achieved. He knew that the internal dynamics of polygenesis would eventuality be resolved. After all, meta data was the property of the creator.
Just as ones and zeros are sent as digital packets. The Fundamental Triads were at work as an equalized 2x2x2=8 cubic octave. That was where a cross matched double binary operated. Curves were used to usher in and perpetuate a physical cube. The container was maintained to project the original essence through. Such a snap shot within the numbers seemed too simplistic. In his mind, faintly visible remnants of an electronic cloud lingered. A physically manifest nDNA backbone began to emerge. The complex then ushered in the primary pigments that composed the world.
The rivers of Chapter 2 were thought of as meta circles and physical lines. They provided a mirrored sine wave that floated on the ether. One line was an invisible low pressure zone defined by the structures it attracted. That synapse, as he called it, was contrasted by a pressurized line of physical structure. Peering through the multiple layers, a flower of life came into view. An intricately woven patch work, it harbored the residual of dimensional engagement.
As Larz reflected upon his journey the focus shifted back to the Solfeggio arraignment. He had adopted ut re mi fa sol la ut as the natural primary octave. He cross referenced the A- F music scale. The world was set as natural C. Precreation A+B spawned interferential waves that created an original oscillation =C. The pre arranged action and reaction movements were codified in the intentional stream of consciousness. The natural circuit pigments were still largely unrecognized. He wondered about how a detuned world could be reconciled?
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Trinity notes
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